Film Editing

What's the Idea?
The general idea behind editing in nsrrative film is the coordination of one shot with another in order to create a coherent whole. The system of editing emplyed in narrative film is called continuity editing - it's purpose is to create and provide efficient and artful transitions.

Editing Film:

• In filmmaking, the task of selecting and joining camera takes
• In the finished film, the set of techniques that governs the relation among shots.

'Editing is the process of preparing language, images, or sound through correction, condensation, organization, and other modifications in various media... Editing is, therefore, also a practice that includes creative skills, human relations and a precise set of methods.'

Edwin S Porter, The Great Train Robbery, 1903.
Shots in sequence to create meaning for audiences.
From exterior shots to set, audience is encouraged to believe the events they see are immediately sequential.

The Kuleshov Effect:

• Lev Kuleshov, circa 1920: intercut an actors face with unrelated footage taken later.
• Audiences interpreted emotional responses on the actors face based on the juxtaposistion of images.
• Whilst much of the moving image we see uses this effect, it does not usually draw attention to it.#

Definition of in-camera editing:
'Constructiung a film by taking shots in sequence, with no subsequent editing' (Burn and Durran)

Contrast 'four main functions' of film editing:

• Make sure that thre production is the required length or time
• To remove unwanted material/mistakes.
• To alter id necassary the way or the sequence in which the events will be portrayed.
• To establish the particualr style and character of a production.

Graphic Continuity:
A graphic match is achieved by joining two shots that have a similarity in terms of light/dark, line or shape, volume or depth, movement or stasis.

A graphically discontinuous edit creates a clash of visual content by joining two shots that are dissimilar in terms of one or more of the above visual principles.

Rhymic Relations:
Film is not only a visual art, but also an auditory and even tactile art. Therefore, editors also remain aware of the effects achieved by maniupulating the rythyms experienced by perceivers through thoughtful juxtapositions of longer and shorter shots as well as through transitional devices.

Rythmic transitional devices:

1. Straight cut
2. Fade-out
3. Fade-in
4. Dissolve wipe
5. Flip frame
6. Jump cut

Temporal Relations:
Editing is the process by which the difference between temporal duration and screen duration is reconciled. It sounds simple, but consider this: mist feature films present in roughly two hours sufficient intersection of storyand plot to provide percievers with everything they need in order to understand days, weeks months or even years in character's lives.

Temporal Relations: Chronology:

• Mostnarratuive films are presented in roughly chronological order, with notable exeptions.
• The two most common disruptions to chronological order are flashbacks and flashforwards (The former being much more typical than the latter).

Spatial Relations:
perhaps the most important, as well as the most overlooked. The camera must be positioned in a certain way trhoughout all of the edits to make sense to the audience.

Spatial continuity:
The standard pattern for editing a scene, in narrative film includes the following:
establishing shot, shot reverse shot, eyeline match, re-establishing shot.

Thematic relations:
Editors have at their disposal two very powerful techniques for maniuplating the percievers place in the heirarchy of knowledge, and therefore affecting out thematic understanding of film:

• Montage sequences
• Crosscut Editing